were trying to do whatever we can to finish it. i just spoke to them [directors warren du preez and nick thornton jones and the rest of the creative crew] today and theyre trying as hard as they can. i think there have been some technical difficulties. thats the thing when you work with things that nobody has worked with before. sometimes you have difficulties, hindrances. so fingers crossed

about vr technology and the apps

to me it is the natural continuity of the music video, this total merge of surround sound and vision. (...) eventually i would like to gather all the vr apps together on a vulnicura album so that people can watch them at home in chronological order. but since most people dont have headsets, i like doing this in museums and shows to exhibit the videos after they had been made. (...) i like the intimacy of the headphones and the headsets. music, to me, seems to do best when you are really intimate and private, listening to it one on one, or in a huge place, like a festival or something. vr is obviously going to be amazing for a lot of things films for sure, and skype, where you can spend time with your loved ones. i love virtual realitys almost wagnerian theatricality, its almost like youre in the middle of a stage like in a huge opera or something this is not just touching a screen but more like experiencing the world

the new app approach comparing to biophilia's first try

"there is immense satisfaction in solving things differently, so its been quite pioneering. obviously it has its ups and downs, and the downs are that you make a lot of mistakes. but the ups are that the rewards are tremendous

about new upcoming 'black lake' installation and general bjork digital compared to moma's mid-retrospective

[bjork is looking forward to seeing it restaged at carriageworks because of the venues much bigger physical dimensions. it will be staged in an 8m x 12m space complete with huge screens and 54 speakers]
at moma and im not complaining for a second the screens we had were at the opposite end of the rooms so you didnt get that sort of claustrophobic feeling. (...) it was very flattering, yes, but i think its something that im not comfortable with doing myself. i think this exhibition for me in sydney is probably what i would have done [instead] of the show at moma. it is not about me as the icon, the clothes, or about putting me up on a pedestal. its about content"

about vulnicura and compared to other albums

"the album for me was very much about going home. i think it happens to all icelandic people a lot of other people too, perhaps when they get into trouble, they emotionally, at least, return home to heal their wounds. i definitely went back twice to heal them, to make sense of it all. and also i felt that the icelandic landscape, when it is really barren, it really suits the emotions at this time. you know, there are these tiny plants that grow there, they are very stubborn and when they finally break out of the lava, it is such a feat they are so courageous. it is this idea of rejuvenation. [she says vulnicura, in some ways, represents the closing of a circle] my last patriotic album was homogenic in 1997 from there i did an album called volta, which is me sort of travelling around the world on a boat and being like a gypsy. and then i did biophilia, which obviously happened in outer space. [here, she erupts like a small volcano into a sudden stream-of-consciousness riff about atoms vibrating] like units bumping into each other, not behaving like humans, [before suddenly whipping back to clarity as if a bungee cord has been yanked]. but with vulnicura, i was kind of trying to go back to iceland. it is probably the most human album ive ever done. it was about returning home after heartbreak and getting healed

about divorce

[did she find some peace? she is quiet] yes, i feel so. when somebody told me three years ago that time heals wounds, i was just shaking my head and laughing. but now i feel im a good example of someone for whom that is true. (...) i was very aware that i was going through the most difficult thing i had ever gone through in my life, there was an extreme sense of loss. but you know, there are people who lose their children or lose their homes, there are way more extreme cases of loss than mine. i think you get more empathy with people after something like this happens to you. (...) it was scary at times, of course i know of cases, of couples who separate and one or the other doesnt get over it their whole life you hear these kind of terror, terror stories [her voice trails off] so i was really determined to work myself through it. the album helped a lot, but also my daughter, especially. to me, it was very important for other family members and children that you are not stuck, that you dont pass on your problems to the next generation. of course you cant do it all, but at least you do your best

about new album

[there is a sense of upbeat energy when she talks about writing songs for her new album, which reunites her with vulnicura producers arca and the haxan cloak. she said last year that if vulnicura was an album] about hell we are doing paradise now. utopia. [or perhaps not quite; its too early to say, she muses. after the last album, she felt a weight lift, she says:] it was like i was free from this heavy feeling and very, very euphoric and happy. but i mean, i am still writing so its still hard to say it could go either way, any direction. so maybe i will talk about it once i finish it.

I think this exhibition for me in sydney is probably what i would have done [instead] of the show at moma. it is not about me as the icon, the clothes, or about putting me up on a pedestal. its about content.

Premiering them at Sydney’s Carriageworks appealed, she says, “because the people were collaborative and open-minded enough to give it a go”. The venue worked, too: “It’s a space where you have a punk, warehouse angle; a space that shows all different things, like music and dance and art.”

Of her fascination with virtual reality, says Björk, “It’s a natural continuity of music videos. With music, [when] you put your headphones on and listen to an album, you have that really private thing. Virtual reality is similar. It’s that same concentration.”

[there is a sense of upbeat energy when she talks about writing songs for her new album, which reunites her with vulnicura producers arca and the haxan cloak. she said last year that if vulnicura was an album] about hell we are doing paradise now. utopia. [or perhaps not quite; its too early to say, she muses. after the last album, she felt a weight lift, she says:] it was like i was free from this heavy feeling and very, very euphoric and happy. but i mean, i am still writing so its still hard to say it could go either way, any direction. so maybe i will talk about it once i finish it.

"But I am a bit of a magpie and do like the new, shiny object that appeared from the sky, dropped on my head by a drone or whatever," she says. "I grab it and get obsessed with it."

"I'm the guardian making sure the technology and emotions match," she says.

"Are you going to tell your grandma about your sex life?" she says. "Maybe you do or maybe your whole life you don't then that one moment she asks you, you tell her.

"It's the same thing with music – where to draw the line between the personal like what you share," she adds. "You just know when you've over-shared. It feels like you're being exploited, it's like a feeling."